The secular archive is often framed as a space in which memory is stabilised through institutional selection, textual preservation, and historiographical order. This research project, however, approaches it as a more porous and acoustically charged field—one in which voices, poetic forms, and social inscriptions circulate beyond the boundaries of official remembrance. It does so through the figures of Azalais de Porcairagues, Iseut de Capio, Tibors de Sarenom, and Alamanda de Catelnau, whose troubadour and courtly presences emerge at the edges of written transmission. Rather than treating these figures as marginal notes within a male-dominated lyric tradition, the project reads their traces as active modalities of inscription, where song, address, and circulation unsettle the presumed neutrality of the archive. In this sense, the secular archive becomes a site of deeper intertwined realities, where poetic voice and documentary form remain in continuous tension, and where listening—rather than mere classification—reorients how historical knowledge is composed.